Two of the world’s most gifted sleight-of-hand artists,Derek DelGaudio (2011 & 2012
Close-up Magician of the Year) andHelder Guimarães(2011 & 2012 Parlor Magician of the Year) star
in this uniquely unconventional magic show, directed by Emmy Award winnerNeil Patrick Harris. Through a series of diverse and engaging vignettes,Nothing to Hideleads
the audience on an amazing and memorable journey into a world of pure
astonishment.
Helder GuimarãesandDerek DelGaudiobring a truly incredible show to New York. With only 52 cards,
they do things that seem impossible, but this magic duo asks the audience to
keep an open mind and allow them to astound them. Their mind blowing magic
mixed with Neil Patrick Harris’s wit and comedic timing, makes this one show
that you don’t want to miss.
Nothing to Hide officially opened at the The
Pershing Square Signature Center/Romulus Linney Courtyard Theatreon
Wednesday, November 6th and runs a limited engagement production through
January 19th, 2014. This is the most you will ever be entertained with 52
cards!
Why is it that every
murder mystery is set in New England? Why does the detective himself always
have his own dark secret? Why are there always questions but no answers?
In the intimate space of New World Stages, musical
mystery duet Murder For Two keeps us
all guessing "whodunit" in a case of the murder of a scandalous novelist who has
secrets on everyone in his normally sleepy small town. A simple set, with a
bare back wall, two small doors, some "Clue"-esque murder weapons,
and a Steinway center stage, becomes the surprise party that quickly develops
into the scene of the crime.
Jeff Blumenkrantz, equipped with not much more than a
pair of glasses and a raised eyebrow, almost magically transforms into
every guest of the party - the main suspects. From suppressed wife Mrs. Whitney,
sultry ballerina Barette Lewis, and over achieving niece Steph, Blumenkratz
makes each character so distinct that often you forget most of the time he's
talking to himself. As officer (wannabe detective) Marcus, Brett Ryback
embodies the spirit of the song-and-dance style of Old Broadway. Ryback gives
us a leading man reminiscent of Seymour Krelborn; you want him to pull through
because you feel kind of bad for him. Marcus shows off his knowledge in a song
on the "Protocol" of being a detective while "accidentally"
calling the chief. "You've been
listening this whole time?" he squeals. "How embarrassing!" Both
actors remain onstage for the 90-minute length of the show, with so much energy
they could give all those Newsies a run for their money.
What's most impressive about Murder for Two is how well in-sync everyone is with every detail.
Blumenkrantz and Ryback switch off playing piano so seamlessly, even performing
an intricate duet with both their eyes shut. Jill BC DuBoff's sound design
employs sound effects timed so well they feel natural. Jason Lyons' primarily
green-and-purple lighting, changes so subtly creating a new scene immediately.
The production is so well-rehearsed that it comes off spontaneous, and that's
no easy feat, especially with how often the fourth wall is broken. The audience
is addressed as "Lou," Marcus' partner. An unsuspecting patron is
brought onstage to participate in a death scene. Even better, the actors were
able to work through breaking character onstage (then again who wouldn't find the sultry
ballerina playing the piano with her foot hilarious?). It is very apparent this production has been a
labor of love, based on how effortless is all comes off. It makes for a better
experience as an audience member when it's clear how much those involved in the
production are enjoying themselves.
Murder
for Two gets it right, because of how self-aware it is; we are allowed to
indulge in just how ridiculous musical comedy can get through clever wordplay
and snappy dialogue. Mainstream Broadway is
satirized (a choir boy names examples of things he's seen worse than murder,
stating "We saw a show called Mamma
Mia!"). A dramatic scene ends with "Hatcha! Whoopee! Jazz!"
a la Chicago. And in possibly the
best anti-cell phone announcement, homage is paid to Patti Lupone's infamous
show-stopping Gypsy meltdown. At one point, a suspect notes that in
addition to the murder, "We've already seen the slow, painful death of the
American Theatre." On the contrary, Murder
for Two is one of the most original pieces I've seen in quite some time, ironically, bringing life back into musical theatre. Many of us walked out of
the theatre still laughing from a truly entertaining and memorable piece of
work.
Murder
for Two began performances at New World Stages on November 6, and has
extended its run from January 5 to March 16.
Directly
following the world premiere at Barrington Stage Company and a sold out run at
TheaterWorks, Hartford, Becoming Dr. Ruth
gets its New York Premiere Off-Broadway at the Westside Theatre, starring the
incredibly loveable Debra Jo Rupp (“That’s
70’s Show”).
The general public knows Dr. Ruth Westheimer from her career as a pioneering radio and television
sex therapist. Few, however, know the incredible journey that preceded it. From
fleeing the Nazis in the Kindertransport and joining the Haganah in Jerusalem
as a scout and sniper, to her struggles to succeed as a single mother coming to
America, Becoming Dr. Ruth is filled with the humor, honesty and life-affirming
spirit of Karola Ruth Siegel, the girl who became “Dr. Ruth”, Americaʼs most
famous sex therapist.
The
show opens while Dr. Ruth is cleaning her apartment preparing to move out, and
instantly breaks the fourth wall by recognizing that fact that two hundred
people are sitting in front of her. From there, her story begins as she takes us
on her emotional ride through the Holocaust straight to the hilarity of how she
became a sex therapist. Debra Jo Rupp portrays the iconic woman and delivers a stunning
performance with exemplary passion and honesty. Dr. Ruth would be so proud of the care that Rupp conveys her story. Despite Rupp’s incredible
performance, the script drags and the mood lighting doesn't help the story line. Both of this setbacks are easily over looked due to Rupp’s talent.
Becoming Dr.
Ruth officially
opened at the upstairs theatre at Westside Theatre,on Tuesday, October
29th and runs a limited engagement through January 12th, 2014. Don’t
not miss out on this amazing woman’s journey.
Photos by: Carol Rosegg Review By: James Russo & Lisa Kosak
La
Soirée is a raunchy, entertaining show full of eroticism and talent. Set up
like a circus act, the audience sits around a circular red stage as the
centerpiece. Vaudeville, burlesque, cabaret, and circus are performed for the
amusement of the crowd, all executed perfectly.
After
debuting in London in 2010, Manhattan is lucky to feature such a
tongue-in-cheek show. Presented by Brett Haylock, Mark Rubinstein, and Mick
Perrin it features a cast of approximately 25 artists all different and
interesting in their own right, but when combined bring such a taste of the
exotic and fun to the show. Acts vary from male pole dancers to contortionists,
to comedy, and acrobatics. There was not a dull moment.
It
has won several awards, including the London Cabaret Award for Best
One-Off-Show and its previous show La Clique won an Olivier Award in 2008.
Now
in previews at the Union City Theatre, the official opening is October 7, 2013
for a limited engagement. I strongly suggest seeing the show before it goes
back to London.
Photos by Seth Walters Review By: Aziza Seven & James Russo
Ever
wondered what it was like to sit in a club, listening to big band jazz and
watching skit after skit of rising talent in the heart of New York City in the
1930’s? Well, now you have the chance. After
Midnight conceived by Jack Viertel featuring American Idol winner, Fantasia
and narrated by “Psych’s” Dulé Hill is a rousing good time created to invoke
such a feeling.
The
show incorporated so much of what made old Broadway shows spectacular before we
had such technological advances that make Spiderman
and Wicked spectacular. The music is
the jazz collection of Ellington, Mills, Koehler, and Arlen and brings back to
mind the time when, while the country was devastated by the Depression, there
were still those daring to dream and compose and create.
Highlights
of the show include French dancer, Karine Plantadit whose magnificence onstage
is indescribable. She communicates perfectly her situation onstage; drawing the
audience in to her heartbreak and joy effortlessly. Adriene Lenox delivers
comedy with her solos that made my sides ache from laughing so hard. Dormeshia
Sumbry-Edwards, Phillip Attimore, and Daniel Watts bring the art of tap back on
to Broadway in a glorious way. Their percussion is spot on and inspires. While
I’m on the subject of tap, Jared Grimes wowed the audience with his tap number
to Duke Ellington’s “Tap Mathematician.”
Another
performance worth mentioning is the performance given by The Jazz at Lincoln
Center All Stars! The orchestra was onstage the entire time and was having a
good time which translated in their music. I am so pleased I was able to see
such talent.
The
only thing that didn’t heighten the show was the performance given by
Fantastia. I had expected more from her, but I found her numbers to be rather
boring compared to the rest of the show. And while this only an aesthetic
critique, I feel it needs to be said, women did not have tattoos in the 1930s
and I found hers to be incredibly distracting from the show whenever she was
onstage.
After Midnight officially opened at the Brooks Atkinson Theatre
on November 3, 2013 and is running through March with special guest star K.D.
Lang performing from Feb. 11-Mar. 9 and Babyface and Toni Braxton performing
Mar.18-30. Here is where you can find tickets: After Midnight on Broadway. Photos by Matthew Murphy Review by: Aziza Seven
Sometimes, life's stories can be more extraordinary
than any fairytale. Big Fish gives account
of the tall-taled days of Edward Bloom (Norbert Leo Butz), a man whose life
seems to come out of a story book. Although Will's(Zachary Unger as the child,
and Bobby Steggert as the adult) mother Sandra (Kate Baldwin) and wife
Josephine (Krystal Joy Brown) indulge in the truth of Edward's fanciful tales,
Will refuses to believe until he can uncover for himself what is real and what
is fantasy. What results is the manifestation of all of Edward's best memories
woven into present day to show us that in fact, "The ones who face their
fears lead the most interesting lives."
Butz
is the true definition of a Leading Man. His presence is commanding, and with a
velvety voice and ease in dance, you don't want to take your eyes off of him.
Even more impressive was his ability to seamlessly transform his age from an
elderly man, to a teenager, to an adult, and back again within a matter of moments;
I'm not even sure how old Butz really is he transitioned so well. The same goes
for Baldwin. We get to watch Sandra gracefully change from girl to woman, all
while being lucky enough to hear her beautiful voice ring out. Bobby Steggert(Older Will) stands his ground with the
heart wrenching performance of a son struggling to believe in the man he has looked
up to his entire life.
From
the very moment the lights came up, the stage is flooded in rich beautiful
color; Julian Crouch's scenic design transforms from a dark forest to a warm,
modest household to bright USO show. William Ivey Long's costume designs could
be considered their own characters with dresses becoming swaying trees and
crackling campfires, men turning into giants, and women into mermaids.From Ashton, Alabama to Central Park, to the Calloway
Circus, each new world is more fantastic than the last. Use of projections made
the impossible a reality, and technical aspects including a stage full of
daffodils and dancing elephants made it a spectacular. Andrew Lippa's bright
score and Susan Stroman' s exciting choreography are reminiscent of the classic
Golden Age of Broadway with big production numbers ("Be the Hero") to
tear-jerking ballads ("I Don't Need a Roof"). Together, everything
blends to make a fresh, modern take on the classic Musical Theatre
structure.
Many
will notice that although the story is still from Daniel Wallace's novel, it is
not the same as the Big Fish we know
from Tim Burton's film. On screen, the life of Edward Bloom was much darker and
oftentimes more like a fable, whereas onstage it's closer to a fairytale. In my
opinion this was a smart move by John August, who penned both the screenplay
and the musical's book. The bright version of Big Fish for stage is energetic and engaging, which is needed for a
piece of musical theatre to be successful. Many shows that come to Broadway now
are inspired by films, so oftentimes it can be difficult to stick out and be
memorable. Where Big Fish gets it
right is its ability to stand as its own piece of theatre, you don't need to be
a fan of the movie to fall in love with the piece on stage.
Big
Fish opened October 6 and is now playing at The Neil Simon
Theatre. Review By: Kelcie Kosberg
The 1900s come alive in Snow
Geese, the world premier drama by Sharr White directed by Daniel Sullivan
and starring Emmy and Tony award winner Mary Louise Parker.
Recently widowed, Emily Gaesling(Mary Louise Parker), had
decided to throw her annual hunting party to honor her eldest son, Duncan(Evan
Jonigkeit), on his deployment overseas and her late husband’s memory, despite
the fact that his spendthrift ways have left the family buried in debt. She is
determined to believe that they are just as well off as they always were,
refusing to listen to her younger, more level headed son, Arnold(Brian Cross).
Mary Louise Parker is no stranger to the theatre and has
been seen in such shows as Proof, How I Learned to Drive, Angels in America,
and of course her award winning television show “Weeds”. Usually dynamic and
volatile onstage, I found her performance to be somewhat stilted due to the
mannerisms she had adopted for the role. The effect made her less personable
and relatable to the audience eliminating any sympathetic feelings for her
character.
Brian Cross made his confident Broadway debut as the younger
Gaesling brother. His chemistry with his older brother made them a strong
familial duo with Evan Jonigkeit proving to be a great example of a leading
actor of our generation.
While Cross’s love story with the maid, Victorya(Jessica Love) a Central
European refugee from a once prominent family, created empathy.
Worth mentioning, is Victoria Clark’s performance as the discreetly
intervening sister, Clarissa, and her immigrant husband Max(Danny Burnstein),
who despite being an American citizen for thirty years has been ostracized due
to growing German hostility stemmed from the war. Heartwarming, engaging, and
truly stunning are just a few words that come to mind to describe Clark and Burnstrein. Their
story is heartbreaking and poignant.
Jonigkeit’s exuberance over “fixing” the problems overseas
are sharply contrasted with Cross’s accounts of the rising casualties and
Victorya’s personal accounts of hardship bringing to mind the harsh realities
of war. The audience can’t help but draw a parallel between World War I and the
modern day conflicts in the Middle East creating a drama worth talking about
long after the curtain goes down.
The set designed by Tony award winner John Lee Beatty, was
simply stunning. The set would rotate to create different dimensions throughout
the play. I felt completely immersed into their world. Japhy Weideman, the lighting designer, made
the set come alive and set the mood perfectly.
Snow
Geese is playing at the Samuel J. Friedman Theatre and
is only running through December 15th, so get your tickets now. Photos by: Joan Marcus Review By: James Russo & Sarah Brown
A Night with Janis
Joplin is a musical journey celebrating one of the most influential female
rock in roll artists of all time – Janis Joplin. Her biggest musical influences
– trailblazers Aretha Franklin, Etta James, Odetta, Nina Simone and Bessie
Smith, make guest appearances to further explore what it means to be a female
icon in a then male dominated world.
Like a comet that burns far too brightly to last, Janis
Joplin (Mary Bridget Davies) exploded onto the music scene in 1967 and, almost
overnight, became the Queen of Rock ‘n’ Roll. The unmistakable voice filled
with raw emotion and tinged with Southern Comfort made her a must-see headliner
from Monterey to Woodstock. It would take a woman filled with the same gumption
to pull off such a performance and while Mary Bridget Davies can sing and act
like Janis, her stage presence was lacking.
Mary Bridget Davies is reprising her role as Janis Joplin on
Broadway, having previously taken the country by storm with her critically
acclaimed performance.
It seems a shame that a woman with a voice like Mary’s, was
what looked like banned to the corner of the stage to tell her story. Out of all the hits, I found the song
selection disappointing. Redeemable moments were Mary’s performance “Another
Little Piece of My Heart,” and her duet with Aretha Franklin that closed Act I.
Despite the promising cast and Mary’s voice, this stage adaptation doesn’t
compare to a concert given by the Queen herself, but it’s a close second!
The choreography done by Patricia Wilcox(Motown) lacks
the creative flare that it could have been, but the set and lighting design
done by Justin Townsend (Bloody Bloody Andrew Jackson) more than makes
up for it. Townsend's designs put the audience in a glorified warehouse while
the lighting sets the mood for a rock concert worth attending.
A Night with Janis Joplin opened October 10, 2013 at Broadway's Lyceum Theatre.
If you are a true Janis Joplin fan,
then this show is definitely worth seeing.
Tennessee Williams’s ‘The Glass
Menagerie’ returns to Broadway under the direction of John Tiffany. Amanda Wingfield (two-time Tony® Award winner Cherry Jones)
is a Southern belle past her prime, living with two grown children in a small
apartment in St. Louis. Amanda dreams of a better life for her shy and crippled
daughter Laura (two-time Tony Award nominee Celia Keenan-Bolger), so she pushes
her son Tom (Zachary Quinto, Angels in
America), to find a “gentleman caller” for the girl. However, the arrival
of the gentleman caller (Brian J. Smith,
The Columnist) sends shockwaves through the family and causes cracks to
form in the delicate fantasies that have kept them going.
This brave
new interpretation of this Tennessee William's classic is being portrayed by a
truly, beautiful, thoughtful and inspiring cast. Cherry Jones(Amanda) plays the very protective,
stubborn mother. Both overbearing and warm, Jones’ talent is indescribable and
a must-see. Celia Keenan-Bolger(Laura)
is the crippled daughter tackling the burden of being a completely able bodied
actress playing a physically challenged role. If I hadn’t known she wasn’t
disabled, I would never have known so great is her immersion into the
role. She was full of grace and
confidence which really made her shine through. Zachary Quinto(Tom) is making his Broadway debut and
delivers the performance of a lifetime, leaving the audience speechless.
Lastly, Brian J. Smith(Gentleman Caller)
is all the things a good romancer is supposed to be, charming, alluring, and
charismatic.
The technical aspects of this show
only enhance the performances. Bob Crowley
designs both the set and the costumes. The set is three platforms, displaying a
minimalistic apartment surrounded by a dark abyss, perfect to keep the audience
engaged in the action on stage, without being distracted by pointless
decoration. Natasha Katz has once again delivers a beautiful elegant mood
that’s perfect for this show.
The Glass Menagerie
opened
September 26, 2013 at Broadway's Booth Theater (45th Street) and runs a
strictly limited run through Jan 05, 2014, so get your tickets soon!
“The Glass Slippers are so back!” Rodgers and Hammerstein’s
Cinderella adaptation makes its Broadway debut and offers a new romantic twist
on the ultimate rags to riches makeover story. The musical mixes fresh comedy
with the fairy tale's well-loved classic elements - the pumpkin, glass slipper,
masked ball and more. In addition to musical numbers from the original score - including
"In My Own Little Corner," "Impossible/It's Possible,"
"Ten Minutes Ago" and "Do I Love You Because You're
Beautiful?" -This Cinderella will include several new songs from the
Rodgers & Hammerstein duo.
This huge production is led by two-time Tony nominee Laura
Osnes. As Ella, Osnes is the perfect fairytale princess; she brings a rare
elegance to the stage that makes the audience fall in love with her immediately.
Santino Fontana plays the tortured Prince Topher. Handsome, lovable, and sweet,
he is everything young girls have grown up wishing for in a man. The audience
can’t help but feel that Osnes and Fontana belong together.
Joining the cast is Rebecca Luker, replacing Victoria Clack
as Crazy Marie/Fairy Godmother. Luker brings wisdom, magic, and illusions; she
is flawless, faultless, and completely deserving of her character’s “crazy.” The
exemplary Ann
Harada, Marla Mindelle, and Harriet Harris bring a big twist to the well-known step-sisters and
stepmother. Harada is quirky and hilarious and steals the show with her song
“Stepsisters Lament,” while Mindelle is nerdy, heartwarming and adorable.
Harris is the ultimate villain, charging onstage with wit, sass and just enough
nastiness to make an audience root for Cinderella’s dreams to come true at the
expense her ugly step-mother.
With a show this big, there needs to be a top notch
production staff, as a group they need to be able to create magic onstage. The
set design was done by Anna Louizos, consisting of moving trees, secret doors,
and giant picturesque set pieces. Tony Award winner William Ivey Long is responsible
for the ingenious designs that turn Cinderella’s dress from rags to riches and
Crazy Marie into the Fairy Godmother with a mere flick of the wrist. Kenneth Posner’s light design ties all the technical aspects
together with perfect mood lighting, making this production a truly stunning
piece to watch.
Rodgers and Hammerstein’s Cinderella opened on Broadway on February 21, 2013 at the Broadway Theatre (1681
Broadway). This is a great show for the whole family, so grab the kids and
waltz over to the Broadway Theatre for a truly magical evening that will leave
you believing in the power of wishing.
Helder Guimarães and Derek DelGaudio bring a truly incredible show to New York. With only 52 cards,
they do things that seem impossible, but this magic duo asks the audience to
keep an open mind and allow them to astound them. Their mind blowing magic
mixed with Neil Patrick Harris’s wit and comedic timing, makes this one show
that you don’t want to miss.
Nothing to Hide officially opened at the The
Pershing Square Signature Center/Romulus Linney Courtyard Theatre on
Wednesday, November 6th and runs a limited engagement production through
January 19th, 2014. This is the most you will ever be entertained with 52
cards!
